Eva Schuster

Creative Language Learning and Visual Artist

Colors :: Value, Saturation, Hue, Influences Lesson #6

Eva, lesson 6, project 1

Lesson 6, project 1:Fields of color

I watched the video a few times to get a feel for what to do here, and then I really got into it. And yes, it took a long time. When I did the second versions of my schemes I was more daring and tested some other colors to create more interesting colors with the top color. I will mention this in the examples.

All sizes are 9×9 except to tall one, they are 9×3.

#1: I used Cad yel med, Primary red and Dioxazine purp.

Scheme #1

Both have lots of layer, but #1 has more of them, the purple now just looks black though. So with the #2,  I added one layer dry brush with permanent blue light, then glaze, then purple again, and it shows a lot better. I did a similar thing with the orange, yellow. I layered both colors so the orange would look more yellowish.
With the red in center on #2, I did at some point a very thin layer of quin magenta, dry brush and a glaze. then added just very thin layer primary red again. Now it’s this thick vevety red.

first on the left, second on the right



#2 Colors: Primary red, Cad orange, and Aqua grn

Scheme #2

In #1 the variation in the red part is hardly visible, but still the bluish strip buzzes. On #2 I used aqua as an undercoat for the whole thing, then added layers for cad yel med, then glazes and primary red and cad orange and more layers of aqua for the horizon. #2 looks more interesting to me. Also it has this interesting line between the red and the aqua. I made sure I don’t have a line between orange and aqua. I wanted to see the difference.

first left, second right

#3 Payne’s grey, primary red and permanent blue light

Scheme #3

Here the first version is on the right. I liked it right away, the trick here was using a layer of cad yel med on the top part, then going over it with cad o. again. Also I did a layer of aqua grn in the middle to create more depth in the blue.
With the second version #2 I did a first layer of orange in the whole piece, then worked my way towards differentiation. At some point the orange looked to boring to me, so I dry brushed some perm. blue, then worked with layers of glazes, yellow and orange until I reach the result below.
Also the blue in the orange area was too bright, so I used a thin layer for payne’s gray, then another layer of blue and now it looks more like the same blue in the whole rectangle.
Again interesting stuff with lines happening, want to explore that more.

second on the left, first on the right

At this point my favorite of these 6 paintings is from experiment #2 the second version.
This one: I like the subtlety in the variations.

Two more pieces that happened in between:
Dioxazine, Sap grn, Aqua grn
I like the depth vs shallowness of the lower right vs upper left, and the variance in the aqua part.

This was interesting
Dioxazine, Cad Red med, Aqua+wht
covered everything with purple first, got very excited when layering cad red over purple. fascinating color.
the horizon line needed some white to be added to make the two dark colors pop.

It was a great project. Looking forward to making the grid now.

Question for Dear Jane:

Well, what happened during the workshop was discovering abstract painting, which I have done only very little of and don’t identify with. But now – surprise, surprise – I want to develop this further. I enjoy learning the freedom of creating more from within, rather then outside stimulation, also enjoying the creating, responding, creating, responding rhythm. So my question would be: how to best go further? What would be a good next step?
Any thoughts, own experiences, remarks would be appreciated 🙂


  1. Great job, Eva! Really nice development of the color fields, and it sounds like your process was exactly right: layering and layering to create depth.

    How to go further in abstract painting? Well, that is a tough question. What is your work like? Do you have a web site or somewhere I could see it? That would help me consider what to advise. Though, truthfully, there is not One Way, and I would suggest that you go with what interests you. If there are other courses, online or otherwise, that sound appealing, go for it. I do NOT advise learning abstract painting in any systematic way. For example, I don’t feel you need to learn one thing BEFORE another in any particular order. You learn “on the job”, as it were. I could suggest my downloadable courses: Extreme Composition and Keys to Dynamic Composition. But if those do not grab you, find something that does. Or take a live workshop. I get a lot of students in my live workshops that are new to abstract painting, though experienced with the materials and with representational painting.


  2. Dear Jane,
    Thank you for your comment. And I quickly put some of my paintings up on my website, so you get maybe a better idea.

    This year:

    2017 until now Product painting

    Process painting 2014-5

    2015 process painting

    Earlier work from 2010/11

    Paintings up to 2011

    Thank you again for taking the time!



  3. Wow! Thanks for this. Interesting journey you’ve had, and awesome paintings. Your most recent ones are more sophisticated than the process paintings, though those have their own charm. I think process painting IS therapy, and it does not require you to SEE in the same way that regular painting, especially abstract painting, does. Keep doing what you are doing. Take classes and workshops, paint as often as you can, regularly.


  4. Dear Jane,
    Thank you for your good/doable advice AND encouragement. I appreciate it. I’ll be working on project 2 this weekend and hope to be posting soon.

    🙂 eva